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"The Wood Beyond the World" is perhaps the first modern fantasy novel to unite an imaginary world with the element of the supernatural and is thus the precursor of much of present-day fantasy literature. The protagonist, (Golden Walter), gets married when he is a young man. His wife betrays him with another, so in his sorrow and to avoid a feud with her family, he sets off to sea.

Denied citizenship by the Roman Empire, a soldier named Alaric changed history by unleashing a surprise attack on the capital city of an unjust empire. Stigmatized and relegated to the margins of Roman society, the Goths were violent "barbarians" who destroyed "civilization," at least in the conventional story of Rome's collapse. But a slight shift of perspective brings their history, and ours, shockingly alive.

From sorcerous bridges that link worlds to the simple traditions of country folk; from the mysterious natures of twins to the dangerous powers of obligation and contract. Laden with perils for both the adventurous and the unsuspecting, magic is ultimately a contradiction: endlessly powerful but never without consequence, and rigidly defined by rules of its own making. Award-winning Jonathan Strahan brings together some of the most exciting and popular writers working in fantasy today to dig into that contradiction.

Nine-year-old Jenny Carson is brutally murdered in Kenton Wood on her way from school. Then Charles Lendon is found stabbed to death with a skewer through his heart. He was a ruthless lawyer and something of a womanizer. Jenny's father blamed him for her murder. As the local police struggle, Inspector Crow is called in. Can he connect the two killings? He discovers that several of those closest to Charles Lendon had good reason to hate him: his housekeeper lover, her unstable brother, even the boyfriend of his attractive young colleague Cathy Tennant.

This quintessentially English novel is considered by many to be a masterpiece of storytelling. Set for the most part on a riverbank in rural England, against a backdrop of social, agricultural, and industrial change typical of the early 20th century, Kenneth Grahame's portrayal of the anthropomorphic characters (which include Mole, Ratty, Badger, Otter, and, of course, the incorrigible Mr. Toad) is imaginative, lyrical, and without doubt uniquely humorous.

Twenty Thousand Leagues Under the Seas is a classic science-fiction novel by French author Jules Verne. First serialized in 1870, the plot is straightforward. There is believed to be a monster terrorizing ships on the oceans of the world and an expedition is organized to hunt it and eradicate it from the seas. At the first encounter, marine biologist M. Arronax and his servant Conseil along with a Canadian harpooner (Ned Land) are washed overboard and are picked up by the submarine vessel Nautilus, which is the actual perpetrator of the terrorizing incidents.

"Masterman Ready, or the Wreck of the Pacific" by Capt. Frederick Marryat, follows the adventures of a devoutly Christian family (The Seagraves) and their servant (Juno) who are shipwrecked at sea and find themselves having to survive on a desert island.

From colonial empire-building in the 19th century to the postcolonial culture wars of the 21st century, attempts at "comparison" have defined the international agenda of literature. But what is comparative literature? That is discussed in this audiobook....

In this sweeping and provocative work, political economist William Davies draws on a 400-year history of ideas to reframe our understanding of the contemporary world. He argues that global trends decades and even centuries in the making have reduced a world of logic and fact into one driven by emotions - particularly fear and anxiety. This has ushered in an age of "nervous states", both in our individual bodies and our body politic.

This is Dickens’s third novel and was originally published as a serial from 1838 to 1839. It’s a wonderful example of Dickens’s ability to weave plots within plots and portray the most glorious characters. Both theatrical and prosaic, Dickens magnetically and majestically pulls the reader (or listener!) into his unique and inimitable world. The Life and Adventures of Nicholas Nickleby tells the story of a young man who must support his mother and sister after his father dies leaving the family impoverished.

Film historian David Thomson, leads us into this very delicate subject. While unpacking classics such as Seven, Strangers on a Train, The Conformist, The Godfather, and The Shining, he offers a disconcerting sense of how the form of movies makes us accomplices in this sinister narrative process. Murder and the Movies admits us into what Thomson calls "a warped triangle": the creator working out a compelling death; the killer doing his and her best; and the entranced spectator trying to cling to life and a proper sense of decency.

The novel is the story of a scientist who, through the study of optics finds a way to make things invisible. In a desire for recognition, fame, and the advantages of being invisible, he subjects himself to the process. But being unseen isn't as positive as he had hoped, and he soon finds himself regretting his condition, and his mind also becomes warped. He becomes mentally unhinged. Later, he embraces his invisibility and begins to spiral into a lust for power and control, and he reveals a plan he has hatched to unleash his personal "terror" on the world.

For countless years, Moth has been frozen still, one half drenched in eternal daylight, the other cloaked in endless night. For countless years, the soldiers of sunlight and the dwellers of darkness have lived in isolation. We are the children of Moth. We were born in sunlight or in shadow. We can stop the fire, or we can watch our world burn. This is our story.

We are in darkness. We are alone. They came from the lands of light. They came with torches, with lanterns, with the banners of the sun. The children of endless day-they came to banish the darkness. And they came to kill. We are the children of never-ending night. We are the dwellers of shadow. In the light of our enemy, we are dying. We were born in darkness. We must cast out the light. This is our story.

Our world burns with war. In the west, the people of eternal sunlight invade the darkness, armed with swords, arrows, and torches. In the east, the children of endless night fight from the shadows. Soldiers of sunlight and dwellers of darkness. Their war flares across the world of Moth.

Our world has fallen still. One half lies drenched in eternal daylight, the other cloaked in endless night. Our people are divided, some living under the sun, the others hidden in shadow. All is light or darkness. All is the sun or the moon. All but me. My father was born in the never-ending sunlight of the West. My mother is a daughter of darkness. I am split in two. Like the moth of our forests, one wing white and the other black, I am torn.

The sun no longer rises. Evening no longer falls. In the lands of endless sunlight, we fear the darkness, we forge swords, we march to war. In the shadows of eternal night, we hide, we pray, we die. Soldiers of sunlight and children of darkness - we were once one. We were torn apart. We must be one again.

In the spring of 1940, as Britain reeled from defeats on all fronts and America seemed frozen in isolation, one fear united the British and American leaders like no other: The Nazis had stolen a march on the Allies toward building the atomic bomb. So began the hunt for Hitler's nuclear weapons. It was to be the most secret war of those wars fought amongst the shadows.

From the man who has brought you 20 books of dark fiction and fantasy, unforgettable horror movies such Hellraiser and Candyman, and countless paintings and illustrations, this is the first-ever collection of Clive Barker's nonfiction.

First published in nine volumes over the years from 1759 to 1767, The life and Opinions of Tristram Shandy, Gentleman is a, comic, bawdy, humorous, satirical novel. It purports to be the autobiography of Tristram Shandy beginning at his conception but, famously, Sterne's egoistic character digresses and side-tracks the listener with so many colorful observations of his family and cast of supporting characters that his birth doesn't take place until Vol 3.